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<span id="hs_cos_wrapper_name" class="hs_cos_wrapper hs_cos_wrapper_meta_field hs_cos_wrapper_type_text" style="" data-hs-cos-general-type="meta_field" data-hs-cos-type="text" >Telum Vox Pop: Arts Communications in Hong Kong</span>

Telum Vox Pop: Arts Communications in Hong Kong

March in Hong Kong shines the spotlight on the city's artistic and creative side. In celebration of this Hong Kong Arts Month, Telum spoke with communicators engaged in Hong Kong's arts industry to hear about building reputation within subjective narratives and how communications can help further drive Hong Kong's standing as an art capital. 

What are the challenges to building reputation, trust and brand awareness in the art world?

Christy Li, Head of Communications, Asia Art Archive
One significant challenge we face is the rich diversity of art and the varying levels of understanding amongst different audience segments. Audiences engage with art in distinct ways, which necessitates tailored communications strategies to ensure that our targeted communities feel connected to the art narrative.

It is important to maintain consistency in branding while implementing diverse approaches to audience engagement. At Asia Art Archive (AAA), we are dedicated to documenting contemporary art history in Asia and disseminating knowledge, and actively prioritise accuracy, objectivity, and professionalism across our content. As a result, our communications strategy will provide multiple entry points for audiences to explore our archive - whether through long-form writing for art professionals or engaging social media posts for broader audiences.

Through considering the variations in language, themes, and visuals across platforms, we are better positioned to address the challenges of communicating in this industry, thereby fostering more inclusive dialogue around art. This approach not only enhances our brand but also builds trust and credibility within the diverse art community that we serve.

Victoria Kung, Associate Director, Marketing and Communications, David Zwirner
The art world is often perceived as being inaccessible, whether in terms of understanding its concepts or even physically entering museums and gallery spaces. As such, while continuing to develop diverse strategies to maintain relationships with the traditional art crowd and media, we have to also consider tailoring campaigns to reach new and curious audiences that are increasingly interested in art and culture.

The opportunities today to reach beyond experienced collectors to appeal to new culture-hungry audiences are wide-ranging, especially as the art world increasingly overlaps with other sectors, from fashion and film to sport and technology. This is an exciting area where the art world can break out of the ‘white cube’ and reassert its relevance in everyday life.

While it may take more time and effort for the public to gain a stronger affinity to different artists and creative concepts, this effort may ultimately lead to longer and more meaningful relationship building with our growing audiences and potential clients.

Is there a different approach to doing PR in the arts industry?

Christy: 
There is indeed a distinct approach to doing PR in the arts industry, which is driven by the unique nature of art and its audiences.

Storytelling is key to public and media engagement, where narratives and affects are just as important as the visual content. At AAA, our comms focus is on crafting compelling stories that resonate with diverse audiences. For example, when promoting an exhibition, we highlight not just the artwork but also the artists' journeys, artistic processes, as well as cultural and social contexts to invite deeper connections from the audience.

We also adapt our pitch angles and language to suit different media outlets. Engaging with art and cultural media requires a nuanced approach, as these platforms often seek historical context and insightful commentary. As a resource for the history of contemporary artists and artworks, AAA is positioned as a source that provides the background information valued in art and cultural media coverage.

How have your arts communications evolved to account for Gen Z's and their tastes?

Victoria: 
Younger generations have demonstrated a keen and growing interest in the arts. Digital platforms and social media have made it easier for people to learn and directly follow artists and art spaces that they are interested in. Art galleries and organisations can effectively utilise these tools to bring audiences behind the scenes and into spaces such as the artist’s studio, which can help extend and augment the physical experience of being in an exhibition.

Art provides a wealth of narratives that can be shared through more traditional formats, like books and artist talks, as well as through digital media, like videos and podcasts. Whether online or offline, it is important to adapt your message to different cultural demographics while maintaining a cohesive brand identity and an authentic voice. Even across social media platforms, like Instagram, WeChat and Little Red Book, communications content should be tailored towards the platform’s native users and the brand’s targeted audience.

How can PR help drive the development and reputation of Hong Kong as an art capital?

Christy:
 PR plays a vital role in enhancing Hong Kong's reputation as an art capital, especially as awareness of contemporary art continues to grow. Events like Arts Month and Art Basel, alongside the emergence of cultural institutions such as M+, Tai Kwun, and the Palace Museum, have significantly increased public interest. 

AAA aims to provide different lenses and perspectives on art that contribute to a balanced art ecology. By highlighting less visible artists, art organisations, and narratives across Asia, we can broaden the dialogue and foster a more inclusive art scene. This not only enhances the visibility of diverse voices but also positions Hong Kong as a dynamic hub for contemporary art, attracting both local and international audiences.

Victoria: The arts scene in Hong Kong has been a cornerstone of the city’s cultural appeal for years now, and with institutions such as M+ and Tai Kwun, alongside the new local and international galleries opening up, there is a uniquely rich diversity of art that should be celebrated. At any given time, visitors can expect to see the works of important historical artists and emerging experimental voices on view.

Hong Kong is also a critical hub for the wider Asian art scene, from which gallerists, curators, writers, and artists frequently travel in and out of. This kind of movement and exchange is leverage that continues to help Hong Kong cement its position in the art world as a primary hub, as well as a critical gateway, between Asia and the West.
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Industry update

Nicole Reaney to head IPREX, Asia Pacific

Global communications group, IPREX, has named Nicole Reaney as its new Asia Pacific President. She succeeds Anu Gupta of APRW in Singapore.

This announcement comes as part of a series of leadership changes to the group's global board, which includes the recent appointments of Heidi Otway as IPREX Global President and David Rudd as Americas Regional President.

Nicole, who is also CEO of InsideOut PR, will continue in her role, adding the IPREX leadership remit to her portfolio.

Nicole said: "I'm thrilled to take on this role and help strengthen APAC region's visibility on a global front." 

The Earned View

The hidden cost of seeing risk everywhere

There is a particular psychological condition that develops in senior communications leaders over time, and nobody talks about it because it looks too much like competence.

It rarely appears in job descriptions or competency frameworks. But it quietly shapes how organisations think, behave, make decisions, as well as how we think about ourselves.

Our profession trains us to anticipate failure. We are taught, often implicitly and through hard experience, to read the room before the room knows it has a temperature. To feel the tremor before the quake. But the organisations we serve still need us to be capable of belief, momentum and possibility, and somewhere in the gap between those two truths, a lot of us have quietly lost our footing.

The competency nobody questions

Modern communications leadership has always revolved around institutional threat interpretation.

  • What if this leaks?

  • What if this offends people?

  • What if activists organise around it?

  • What if the media reframes it in ways we cannot control?

For senior communicators, this kind of thinking is not paranoia. It is a core competence, and in many ways, it has rightly been rewarded as such.

But there is a point at which healthy vigilance begins to distort institutional behaviour in ways that are difficult to see from the inside, because from the inside it still looks like diligence.

 

Spun out

Institutional trust was already eroding before many of us arrived at the table. The scepticism was real, the scrutiny was justified, and the pressure on organisations to protect themselves from an increasingly unforgiving public environment was entirely understandable. But as the Edelman Trust Barometer continues its steady annual decline, I sometimes wonder how much of that erosion we have since built ourselves. Whether the old art of spin has, quietly and over time, spun the web we now find ourselves increasingly caught in.

 

We are what we rehearse

Ultimately, organisations become what they rehearse. And organisations that rehearse fear long enough eventually struggle to distinguish discomfort from danger, criticism from crisis, and the raised eyebrow from the burning building.

I want to be honest here: I don’t have clean answers to this, and I’m not writing from the outside looking in. I have been and continue to be rewarded for exactly this kind of thinking, incentivised to find the risk, name the threat, and walk into rooms as the person who could see what others couldn’t. I understand its seductiveness, because it works. It earns us a seat at the table in a way that few other professional postures do, and that feeling of being genuinely useful to leaders navigating real pressure is one of the main reasons I get up to go to work.

Which is perhaps why it is so difficult to notice when the thing that made us valuable has begun to make us and the organisations we serve, smaller.


 

The case for genuine accountability

When avoiding exposure becomes the primary organisational reflex, accountability starts to erode. Not through any conscious decision to evade responsibility, but because genuine accountability requires a willingness to be clearly and publicly wrong, and clarity has become precisely what these organisations fear most.

What emerges instead is the language of accountability without its substance: acknowledgement without admission, review without consequence, apology without change.

Into that vacuum our profession has enthusiastically poured the concept of authenticity. We have advised organisations to be more human, more genuine, more real. And they have listened, briefed agencies, approved strategies, and published content that performs authenticity with considerable production value while remaining perfectly, carefully, and strategically safe. Which is not authenticity at all. It is its most sophisticated impersonation, and audiences know the difference in their bones even when they struggle to articulate it.

The result is not dramatic scandal. It is something slower and more damaging: campaigns that lose their personality through endless risk management until what remains is technically inoffensive and completely forgettable, public statements nobody inside actually believes and nobody outside actually trusts, and organisations so focused on avoiding negative attention that they have been stripped of the distinctiveness that made them worth paying attention to in the first place.

It doesn’t happen often, and most leaders we work with are genuinely trying to do the right thing in genuinely difficult environments. But we recognise it when it does. Those moments when the organisation is so focused on managing the perception of a decision that the decision itself becomes secondary, and we are brought in to help bridge that gap rather than to challenge it. It is a role that can flatter our craft while quietly diminishing our purpose, and most of us who have been in this profession long enough have felt that tension from the inside.


Us at our best

Our role is not to eliminate risk from institutions. That is impossible, and the pursuit of it is its own kind of damage. Our role is to help organisations navigate uncertainty without becoming psychologically captive to it, and sometimes that means being the person in the room who says that the greater risk is not the one everyone is currently afraid of.

That takes judgement, perspective and the kind of confidence that comes not from certainty, but from experience. And it is, I think, the most valuable thing our profession has to offer when we are at our best.

An organisation that optimises exclusively for reputational safety may well protect itself from backlash.

But it will also, quietly and incrementally, protect itself from relevance.


Matthew (Matt) Thomas is Founder and Chief Catalyst at Stake: The Reputation Company, a Melbourne-based consultancy working across brand, reputation, communications, and public affairs. He has advised some of Australia’s largest private companies and has worked extensively with global organisations localising their storytelling and narratives for Australian audiences. His experience spans consumer, government, health, infrastructure, technology, and corporate reputation, including advisory work at all levels of government in Australia.

Matt’s work sits at the intersection of communications, behaviour change, and institutional strategy. He is also a contributor to the The Oxford Handbook of Social Purpose, writing on reputation, legitimacy, and the growing gap between organisational messaging and operational reality.

Read more from our columnists in The Earned View

Welcome
The Earned View

Welcome to The Earned View

Telum Media is all about creating connections between journalists and PR / comms practitioners. Key to that are the connections we forge with media outlets and newsroom leaders on the ground in each of our markets, and with PR leaders and industry bodies.

Today we launch The Earned View - a curated collection of senior industry figures, sharp operators, and KOLs from across the Middle East and Asia Pacific, who have earned the right to pen regular columns on their chosen areas of expertise.

From Acorn Strategy’s Kate Midttun in Dubai to The Savage Company’s Chris Savage in Australia, Ashbury CommunicationsAdam Harper in Singapore to PRINZ CEO Susanne Martin in New Zealand, each of our 12 columnists will bring a thought-provoking mix of analysis, opinion, and practical advice to Telum Media’s PR News pages.

We kick things off with Matt Thomas, Founder and Chief Catalyst of Stake: The Reputation Company, writing on the hidden cost of risk in his strategic communications and reputation column.